I was glad you added "in my opinion", it makes your comment far more discerning. I have been impressed by her very much when I have heard her. If you have not heard it, listen to her in Hercules - try the full piece. There is one with her and at 2hr 20mins, she sings "Where shall I fly" - the bravos and cheers are richly deserved.The performance overall is thrilling. Here I am sad to see Alan Curtis as he died in 2015 and in my opinion really conducts this period music so well. He is sometimes let down, but so many of his recordings are top drawer - his Tolomeo was rightly described as "perfect" by Gramophone Magazine.
I have just come back from a concert with Ann at Drottningholm court theatre outside Stockholm. It was called Dopo notte and it was an incredible string of the best baroque arias. She has a more beautiful and brilliant voice today than in this recording. And more exquisite singing with her own interesting coloratura.
I refer to her as The Great Hallenberg. And the only reason I have not changed it is because I cannot think of a more fitting tribute to such a glorious voice.
Great, wonderful singer ! One of the best (female) Ariodante of the last decades, with of course Von Otter, Connolly, DiDonato, and the newcomer Emily D'Angelo. Thanks for posting, she is so rare !
Dopo notte, atra e funesta, splende in Ciel più vago il sole, e di gioia empie la terra; Mentre in orrida tempesta il mio legno è quasi assorto, giunge in porto, e'llido afferra.
Madame Hallenberg presenta note scure e note agili in grande abbondanza; ella canta con splendida sicurezza nel fantasmagorico giardino della musica barocca.
I thought that Ann-Sofie von Otters rendition was the best I´ve ever heard of this aria and maybe it still is? But this is also extremely well sung - share beauty and refined singing who you can listen to ten times without beeing weary of it! Isn´t it funny and exciting that both von Otter and Hallenberg are from Sweden? Howcome are the swedes so good at singing Handel?
She is very good, and has been for years - but this time, for some reason, they are rushing their fences, and all of a sudden the music has escaped them. Janet Baker - who sang the whole role and this aria as a recital item, as well as recording it more than once (best with Anthony Lewis in 1977) doesn't seem to have allowed that to happen. It's NOT a technical exercise. It's the nearest thing Handel ever got to a pibroch (Ariodante is set in an invented Scotland, and this is his celebration of deliverance - one of the occasions FOR pibroch) and though that was probably an accident the piece demands vocal colour and a sense of emotional release in every bar. That is the reason for the display, and it's what Handel is usually trying to compose.
Trying to figure out why Curtis feels the need to wave his arms about, instead of sitting down and leading from the harpsichord. Supposedly he was a “great period performance scholar.” Guess his ego didn’t allow him to follow the scholarship and lead from the keyboard......
Wonderful but Joyce is the fire. I prefer solid scales/arps/'turas with passion and fullness of note, rather than the delicate/warble/vibrato ghosting approach over the diff bits...too withdrawn. If i was there id love it of course, and the nuances of this treatment of the piece, with the pace allowing that.. its just a personal preference in the delicacies of operatic interpretation.
Ann Hallenberg is one of the greatest mezzos of all time in my opinion!!
Aint that truth! 👏👏👍
She's pretty damn good as a young prince too.
Here here
I was glad you added "in my opinion", it makes your comment far more discerning. I have been impressed by her very much when I have heard her. If you have not heard it, listen to her in Hercules - try the full piece. There is one with her and at 2hr 20mins, she sings "Where shall I fly" - the bravos and cheers are richly deserved.The performance overall is thrilling. Here I am sad to see Alan Curtis as he died in 2015 and in my opinion really conducts this period music so well. He is sometimes let down, but so many of his recordings are top drawer - his Tolomeo was rightly described as "perfect" by Gramophone Magazine.
I have just come back from a concert with Ann at Drottningholm court theatre outside Stockholm. It was called Dopo notte and it was an incredible string of the best baroque arias. She has a more beautiful and brilliant voice today than in this recording. And more exquisite singing with her own interesting coloratura.
I didn't knew her, what a DISCOVERY!!!
LOVE not only her voice, also her temperament!
One of the best Ariodantes EVER!!!!!!!!!!!!
Hail La Hallenberg.
I refer to her as The Great Hallenberg.
And the only reason I have not changed it is because I cannot think of a more fitting tribute to such a glorious voice.
what a voice.
Ann Hallenberg is such a lovely singer.
I need to hear a whole lot more of this lady.
"Électrique " oui .....frissons et larmes aux yeux . Merci ANN
Truly, she deserves such ovation.
Изумительный,пластичный голос.Выдающаяся певица-браво!!
That’s it. That’s Händel. Bravissima.
Braviiiisima. I LOVE her. The best mezzo from Berganza. She is Ann Hallenberganza ♥
Her beautiful song is out of this world
A truly amazing mezzosopran! Bravissimo!
This is purely fantastic. Very impressive
Great, wonderful, divine.
Grandeeeee!!! Dopo l'Ariodante di Janet Baker, che rimane ineguagliata, questa interpretazione della Hallenberg è comunque di altissimo livello
Magnifique! Quelle voix
Love hearing this lady sing!
PURE JOY! (DVD of Ariodante from Spoleto Festival features both her & Alan)
quelle technique...et style .
Great, wonderful singer ! One of the best (female) Ariodante of the last decades, with of course Von Otter, Connolly, DiDonato, and the newcomer Emily D'Angelo. Thanks for posting, she is so rare !
bravo!
Dopo notte, atra e funesta,
splende in Ciel più vago il sole,
e di gioia empie la terra;
Mentre in orrida tempesta
il mio legno è quasi assorto,
giunge in porto, e'llido afferra.
wow...
this is utterly beautiful! gosh!
Madame Hallenberg presenta note scure e note agili in grande abbondanza; ella canta con splendida sicurezza nel fantasmagorico giardino della musica barocca.
This is absolutely amazing singing! And such a rich sound!
A fabulous performance by Ann Hallenberg - huge admiration for her talents. ☺ 👌👌👌👌👏👏👏👏
Как же она хорошо! Браво!
Top shelf❤❤❤❤❤
Varázslatos. Elbűvölő előadásmód. Milyen érzéssel énekel. Káprázatos. Minden hangszer tisztán kivehető. (Greetings from Novi Sad, Vojvodina, Serbia).
Lovely!
This rendition is simply perfect. Ann is magic
tres tres beau ...
PURE SOLID GOLD! SOFT AND LUSCIOUS VOICE PAR EXCELLENCE! ADORE!
Bravissima! Magnifique!!
Beautifully done! If I can't hear Dame Janet's version then this is the one I want to hear.
Splendida!
extraordinario
Einfach immer wieder traumhaft anzuhören! Liebe Grüße, Ann!
Bravaaaa!
Fantastique !!!!! Merci....
masterpiece!
SPLENDID
I like her sensitive Ariodante.
Намного лучше, чем хваленая ДиДонато. Обожаю Халленберг!
Да, лучше!
great!
Sincopi adorabili!!!
wow, you're a diva...great voice!
Christian Waldau
Grandissima Ann!!!!!!
BRAVA!! 👋
Tiene una voz esplendida.!
Welch ein Geschenk an die Nachwelt, das uns diese Künstler hinterlassen haben!
💖✨✨✨
Guessed it would be impossible to choose between this, Joyce Di Donato, Anne Sophie Von Otter and Dame Janet Baker, love them all.
La bravura di questa donna è insostenibile, anche se l'audio non è al meglio.
Bravo!
divine
spirito esulta
Reminds me on larmore.. she’s just epic
I thought that Ann-Sofie von Otters rendition was the best I´ve ever heard of this aria and maybe it still is? But this is also extremely well sung - share beauty and refined singing who you can listen to ten times without beeing weary of it! Isn´t it funny and exciting that both von Otter and Hallenberg are from Sweden? Howcome are the swedes so good at singing Handel?
Tecnica stratosferica
As phantastic and touching as Dame Janet Baker's version! Bravissima....
Tecnica sopraffina, voce duttile, musica splendida.
She is very good, and has been for years - but this time, for some reason, they are rushing their fences, and all of a sudden the music has escaped them. Janet Baker - who sang the whole role and this aria as a recital item, as well as recording it more than once (best with Anthony Lewis in 1977) doesn't seem to have allowed that to happen. It's NOT a technical exercise. It's the nearest thing Handel ever got to a pibroch (Ariodante is set in an invented Scotland, and this is his celebration of deliverance - one of the occasions FOR pibroch) and though that was probably an accident the piece demands vocal colour and a sense of emotional release in every bar. That is the reason for the display, and it's what Handel is usually trying to compose.
Trying to figure out why Curtis feels the need to wave his arms about, instead of sitting down and leading from the harpsichord. Supposedly he was a “great period performance scholar.” Guess his ego didn’t allow him to follow the scholarship and lead from the keyboard......
Wonderful but Joyce is the fire. I prefer solid scales/arps/'turas with passion and fullness of note, rather than the delicate/warble/vibrato ghosting approach over the diff bits...too withdrawn. If i was there id love it of course, and the nuances of this treatment of the piece, with the pace allowing that.. its just a personal preference in the delicacies of operatic interpretation.